Tarantino, Quentin

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    Quentin Tarantino Teases Final Movie at Cannes Film Festival

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    He played coy about the forthcoming “The Movie Critic” in a wide-ranging chat but may have dropped one major hint.Before introducing one of his favorite movies at the Cannes Film Festival on Thursday, Quentin Tarantino had this instruction for the audience.“If you want to scream at a shotgun blast, scream at a shotgun blast,” he said, imploring the viewers to be as “un-French” as possible in their reactions. “Let’s bring a little bit of American grindhouse here at Cannes!”That’s how he set up the 1977 revenge flick “Rolling Thunder” — a movie so foundational to Tarantino, with its third act of cathartic, gun-blast violence, that it’s rumored he will restage it in some fashion for his forthcoming final film, “The Movie Critic.” At least, that’s according to a co-writer of “Rolling Thunder,” Paul Schrader, who revealed that tantalizing tidbit in a recent interview with IndieWire. Though Tarantino himself has said very little about “The Movie Critic,” his film selection on Thursday may have confirmed Schrader’s tease.In the hourlong chat that followed the screening, Tarantino, 60, mostly discussed titles mentioned in his recent book of essays, “Cinema Speculation.” (He was at the festival to give a talk but wanted to present a film as well.)He began with an extended riff on “Rolling Thunder,” which stars William Devane as a Vietnam veteran pursuing the criminals who killed his family: Tarantino noted that though he loves the film, Schrader felt it departed too much from his original script.“He doesn’t recognize the movie any more than I recognize Oliver Stone’s version of ‘Natural Born Killers,’” Tarantino said, citing one of the few films he wrote but didn’t direct. Tarantino has disavowed Stone’s take on his material, but he said that Johnny Cash once told him that he was a big fan of the 1994 film, which starred Woody Harrelson and Juliette Lewis.“I didn’t tell him he was wrong,” Tarantino said.What is it about films like “Rolling Thunder” that he responds to? “Look, I like violent movies,” Tarantino said. “Some people like musicals, some people like slapstick comedy, I like violent movies. I think it’s a very cinematic thing to do.”Asked if he had ever watched a film where the violence wasn’t justified, Tarantino at first appeared so stumped that the audience chuckled. Eventually, he cited “Patriot Games,” the 1992 Harrison Ford thriller. Tarantino initially found the villain’s motivations so relatable, he said, that he rebelled when the character took a late swerve into psychopathic violence: “Just the fact that the villain was this much understandable, that was too much as far as the filmmakers were concerned. So they had to make him crazy. That’s what I got morally offended by.”When it comes to depictions of violence, Tarantino said there was only one line he wasn’t willing to cross. “I have this big thing about killing animals in movies,” he said to applause. “But I mean insects, too! Unless I’m paying to see some weird bizarro documentary, I’m not paying to see real death. Part of the way this all works is that it’s make-believe — that’s why I can stand by the violent scenes.”Tarantino has said his forthcoming 10th film will be his last (owing to his belief that directors have a finite amount of good films in them and ought to quit while they’re ahead), and that he hopes that more books like “Cinema Speculation” will follow once he hangs up his director’s cap. Is that why he has made a movie critic the title character of his final feature?“Well, that’s a long story,” he said at the end of his chat. “I can’t tell you guys until you see the movie!”Still, he offered a tease: “I’m tempted to do some of the character’s monologues right now,” he said. “You guys would get a kick out of it. Maybe if there was less video cameras.” More

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      Revisiting ‘Glengarry Glen Ross’ and ‘Reservoir Dogs’ on Their 30th Anniversary

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      These dramas, both known for distinctive (and salty) dialogue, didn’t make much of a box office impression in 1992. But their influence is still being felt.In October 1992, two startlingly similar indie dramas hit art houses across the country. Both featured all-male casts, sturdy ensembles of well-dressed men spouting tough-guy dialogue. Both would become notorious for their proficiency in profanity (one notched 269 instances of the F-word; the other, a comparatively tame 138). Both offered grim worldviews and 1970s-style bummer endings. And though both were ostensibly about a robbery, each carefully avoided showing the crime itself — to better allow their writers to withhold vital information until the conclusion.Neither “Glengarry Glen Ross” (released on Oct. 2) nor “Reservoir Dogs” (three weeks later) made much of an impression at the box office that fall. But their influence was heavily felt in the ensuing decades — and from this vantage point, 30 years on, they have much to tell us about the state of masculinity in America at the end of the (first) Bush era.Their origins couldn’t have been more different. “Glengarry,” which concerns a quartet of desperate real estate salesman and the theft of a cache of premium sales leads, was based on the Pulitzer Prize-winning Broadway play by David Mamet; the agent-turned-producer Jerry Tokofsky spent five years assembling the cast and raising the financing to turn it into a film, persuading such marquee names as Al Pacino, Jack Lemmon and Alec Baldwin to slash their usual fees for the pleasure of mouthing Mamet’s distinctive dialogue.“Reservoir Dogs,” in which a crew of anonymous thieves assembles for a jewelry store robbery that goes badly and bloodily awry, was the debut film of the writer-director Quentin Tarantino. He penned “Dogs” expressly to be made on the cheap, planning to star in it with actor friends. But the script captured the eye of Harvey Keitel, who not only agreed to play the key role of Mr. White, but also to let Tarantino and the producer Lawrence Bender use his participation to attract a cast of up-and-comers, including Steve Buscemi, Michael Madsen and Tim Roth.From left, Kevin Spacey, Alan Arkin, Alec Baldwin and Ed Harris in “Glengarry Glen Ross.”Zupnik EnterprisesTarantino, a would-be actor in the 1980s, presumably read “Glengarry” and seemingly learned from it. In addition to the similarities, both scripts pivot on the shocking unmasking of a sympathetic character as a traitor (though the reveal occurs midway through “Dogs” and at the end of “Glengarry”). Both riffed on the moody nihilism of film noir. And both find conflict and drama in putting their characters together in one confined space after the crime (the warehouse in “Dogs,” the real estate office in “Glengarry”) and letting them bounce off each other, roaring accusations and suspicions, bellowing obscenities and insults.As is often the case when tempers flare and stakes are high, such unfiltered interactions give us a peek into the characters’ collective Id, and their common obsession is their own masculinity, the manliness of the work they do and how well they do it. That subtext is made text early in “Glengarry Glen Ross,” in its most revered scene (one that Mamet invented anew and added to his screenplay adaptation). Alec Baldwin appears as the viperous Blake, a hot shot from the home office who schleps down to the Sheepshead Bay branch to lead a sales meeting that amounts to eight straight minutes of vicious verbal abuse. “You can’t play in the man’s game, you can’t close them, then go home and tell your wife your troubles,” Blake instructs the cowering sales crew. “Because only one thing matters in this life — get them to sign on the line which is dotted!” As Georgia Brown noted in her Village Voice review, “In the trade’s lexicon, the magic verb is to close. When Aaronow” — the sad-sack salesman — “complains he can’t close ‘em anymore, he’s confessing impotence.”“They’re sitting out there waiting to give you their money, are you gonna take it?” Blake taunts the busted-out Shelley Levene (Jack Lemmon), later in his pep talk. “Are you man enough to take it?” The director James Foley cuts to an agonizing close-up of Lemmon, steaming; his subsequent actions can all be traced to, and perhaps blamed on, that moment of harrowing public humiliation. As if to somehow make the accusation more explicit, Blake concludes his tirade by brandishing a pair of pendulous orbs on a string, announcing, “It takes brass balls to sell real estate,” before tossing them back in his briefcase.Such hazing rituals are par for the course among the performative brutes of “Reservoir Dogs,” which is filled with male bonding rituals: playing the dozens, chewing the fat over coffee or beers, spinning tall tales about crime and sex, and, of course, breaking into dramatic near-fisticuffs at the slightest provocation. Yet the particulars of Tarantino’s men — their identical suits, their color-coded pseudonyms, their hidden identities — underscore the impersonality of their expected behaviors, rendering them interchangeable, and thus impotent, as the salesman of “Glengarry.”When Harvey Keitel, center, joined the cast, his reputation proved a draw to up-and-comers like Madsen, left, and Buscemi.Miramax FilmsBlake also peppers his speech with insults of implied homosexuality, further tying their sales shortfalls to their notions of traditional masculinity. But this vernacular is by no means exclusive to his scene or character; aside from calling their office manager a “secretary” (with all the gender connotations therein), the unprintable-in-a-family-newspaper insults wielded by the sales force include the most verboten four-letter epithet for the female genitalia. Yet the intricacies of male attraction and intimacy aren’t entirely eschewed. Ricky Roma (Pacino), the office’s only success, is seen landing a client with a pitch that sounds less like a sale than a pickup, assuring his mark of such unspoken truths as, “You think you’re queer, lemme tell you something, we’re all queer.”A similar dichotomy exists in “Reservoir Dogs,” where the other F-word is deployed freely, but outside the gaze of the group, an intimacy and even tenderness blossoms between Keitel’s Mr. White and Roth’s Mr. Orange. When the latter is shot in the stomach during their getaway, White holds his hand, wipes his face and gives him permission to “go ahead and be scared, you’ve been brave enough for one day.” And Mr. Orange, terrified for his life but moved by these gestures, asks Mr. White to hold him.Such chasms in thinking (and action) regarding masculinity were clicking through the culture that fall. A month after “Glengarry Glen Ross” and “Reservoir Dogs” slipped into theaters, voters would eject the incumbent president, George H.W. Bush — a man branded by his detractors, during his candidacy and administration, as a “wimp.” Bush was so determined to shed that sneering indictment of his blue-blood upbringing that some pundits believed it influenced his decision to invade Iraq.His replacement, Bill Clinton, offered up his own contradictions. A baby boomer vowing kinder, gentler leadership, he promised an administration informed by the participation and influence of his accomplished wife, Hillary — all while dogged by charges of rampant infidelity, ultimately overlooked by voters, with a collective “boys will be boys” shrug. The ’90s would be a strange time for the American male, and the closing lines of “Glengarry Glen Ross,” delivered by Roma, would prove not only dramatically effective but also socially encapsulating. “I swear, it’s not a world of men,” he despairs. “It’s a world of clock-watchers, bureaucrats, office holders … we’re the members of a dying breed.” More

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      Renato Casaro’s Posters Capture Films’ Essential Moments

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      Renato Casaro’s hand-drawn art has hooked movie audiences around the world since the 1950s. Tarantino and Stallone are big fans. One secret to his success? “You can’t cheat.”TREVISO, Italy — Renato Casaro was taking a trip down memory lane, a long journey in a career that extends from the 1950s, when Rome was known as Hollywood on the Tiber, to the last decade when Quentin Tarantino asked for his help on the 2019 film “Once Upon a Time … in Hollywood.”“I constantly adapted,” said Mr. Casaro, who is a few days short of his 86th birthday. “That’s why I kept working when others stopped.”Over more than six decades, his hand-drawn movie posters have hooked audiences into theaters, acting as abridged portends of the delights to come.“The important thing was to capture the essential: that moment, that glance, that attitude, that movement that says everything and condenses the entire story. That’s the hard part,” Mr. Casaro said, adding an admonishment: “You can’t cheat. You can’t promise something that isn’t there.”The essential might translate into the tender embrace he depicted on the poster for a 1955 Russian ballet version of “Romeo and Juliet.” Or it could be a terrified eye lit by a candle for the 1969 thriller “The Haunted House of Horror.” Or maybe an impossibly brawny Arnold Schwarzenegger brandishing a sword as “Conan the Barbarian” in 1982.Although his art has been seen by untold millions, Mr. Casaro himself is mostly invisible, his work largely uncredited (save for his neatly printed signature discreetly tucked in a margin). He is known primarily to collectors, and to the many producers and directors who sought him out to plug their pictures.The Santa Caterina complex in Treviso, one of the venues for the exhibition of Mr. Casaro’s work.Alessandro Grassani for The New York Times“It’s a bit of a sore spot,” Mr. Casaro said during a recent interview in Treviso, the northeastern Italian city where he was born and where he returned to live a few years ago. As far as he knew, he said, he’d been credited in the end titles just once, in 1984, by Sergio Leone for his work on “Once Upon a Time in America.”But now Mr. Casaro is getting his moment in the limelight as Treviso celebrates his art through an ambitious retrospective: “Renato Casaro. Cinema’s Last Poster Designer. Treviso, Rome, Hollywood.”“We’re very proud to celebrate the maestro who gave emotions to so many people,” said Treviso’s mayor, Mario Conte. Many of Mr. Casaro’s posters had become icons, “forever lodged in our memories,” he said.The show’s title traces the trajectory of Mr. Casaro’s career — from crafting movie posters as a teenager in exchange for free tickets to Treviso’s Garibaldi Theater, to the days when extravagant sword-and-sandal films set in ancient Rome were shot in the modern Italian capital, to his brushes with A-list Hollywood actors.Mr. Casaro said he’d been “born with a paintbrush in my hand,” a natural talent who got better “with a lot of experience.”He moved to Rome in 1954, just as it was becoming a favorite of international filmmakers, who took advantage of the city for its unparalleled setting, the production expertise at Cinecittà Studios and the allure of rising local stars like Sophia Loren.He found work at a well-known advertising design studio specializing in movie posters.Mr. Casaro, who is about to turn 86, working in his studio this month in Treviso.Alessandro Grassani for The New York Times“You learn on the job,” said Mr. Casaro, who eventually went out on his own. “You have to be able to draw everything, from a portrait to a horse to a lion.”It really was la dolce vita, he recalled.“We’d come out of the trauma of the war, and Rome was full of life,” he said, with movie stars and tourists swelling the swanky restaurants of Via Veneto. He was out of that league, but he tried to sneak into the hottest places.“We lived on the margins, but come on, it was marvelous to be young and go to Rome and discover this world,” he said in the deconsecrated church of Santa Margherita, one of the venues for his exhibition. His mother, he noted, was less thrilled with his vocation and location. Growing up in provincial Treviso, Rome might as well have been on another planet. “She thought Rome was the city of perdition,” he said. “She cried, she fretted, ‘I’ve lost my son.’”In Rome, he worked constantly. Roberto Festi, the curator of the exhibition, estimated that during this first phase of his career, he was making about 100 posters a year.To better understand the mood of a film, Mr. Casaro often went on the set. Sergio Leone wanted him in New York to witness a key moment in “Once Upon a Time in America.”“They were filming the scene where the youngest boy gets killed,” Mr. Casaro recalled, an image that eventually evolved into the movie poster. “It was stunning, and the highlight of the first part of the film.”At the exhibition in Treviso. Conan and Bond were among Mr. Casaro’s subjects. Alessandro Grassani for The New York TimesThe turning point in his career, which brought attention outside Italy, came when Dino De Laurentiis hired him to make the poster for the 1966 blockbuster “The Bible: In the Beginning…” It was the start of a long-lasting collaboration with Mr. De Laurentiis, and the friendship helped put him in Hollywood’s sights.Mr. Casaro drew the posters for the Conan trilogy, breakthrough films for Mr. Schwarzenegger, who in 1982 was known mostly as a bodybuilder. For the first film, Mr. De Laurentiis, one of the producers, told Mr. Casaro to focus on the actor’s face, not just his muscles. “Dino wanted to launch him,” Mr. Casaro said. “He knew that Schwarzenegger would explode as an actor.”Another big star of the day, Sylvester Stallone, loved how Mr. Casaro had depicted him in his role as the troubled Vietnam vet Rambo. “Stallone said that I had entered into his soul,” Mr. Casaro said.Mr. Casaro’s early style, which he described as “impressionistic,” became increasingly realistic in the 1980s when he began using an airbrush. That made his technique more photographic but also “more magical,” he said.A poster for Rambo III. Mr. Casaro said Sylvester Stallone told him he had “entered into his soul.”Alessandro Grassani for The New York Times“When he began working in hyper-realism, that was the big change,” said Nicoletta Pacini, the head of posters and movie memorabilia at Italy’s National Museum of Cinema. “That was pure Casaro, and others began to copy him.”The artist isn’t sure how many movie posters he created in total but estimates it’s close to 2,000.“He always understood the spirit of the film” creating images that were “special and distinctive,” said Carlo Verdone, one of Italy’s most famous comedic actors and directors who hired Mr. Casaro to make posters for several films. Mr. Casaro stopped making posters in 1998, when the taste for hand-drawn images had waned in favor of digital and photoshopped renderings. Not for him, he said.He shifted his focus to African wildlife drawings — and elaborate re-workings of famous Renaissance paintings populated with movie stars.In a reimagining of Michelangelo’s “Last Judgment,” Marilyn Monroe holds court. “She’s always been the ultimate myth for me,” Mr. Casaro said. “With all her weaknesses, she still represents a special moment in the history of cinema.”Mr. Casaro showing a drawing of Marilyn Monroe. “With all her weaknesses, she still represents a special moment in the history of cinema,” he said of her.Alessandro Grassani for The New York TimesThen, out of the blue, Mr. Tarantino called, asking for posters in a vintage spaghetti-western style for “Once Upon a Time … in Hollywood,” the director’s love letter to 1960s Los Angeles.He designed two posters featuring Leonardo DiCaprio, who plays an on-the-way-out actor who goes to Italy to make spaghetti westerns and revive his career. One of the posters is for a fictional film called “Kill Me Now Ringo, Said the Gringo.”“Those films always had incredible titles,” Mr. Casaro laughed.Mr. Tarantino sent him a signed photo of Mr. DiCaprio posing for the poster with a message that reads: “Thanks so much for your art gracing my picture. You’ve always been my favorite.”For Mr. Casaro’s admirers, the Treviso exhibition is long overdue.“The history of art has tended to marginalize posters because they were conceived for the masses, and the illustrators were seen more as craftsmen,” said Walter Bencini, who made a documentary about Mr. Casaro. “But movie posters can be popular art in the true sense of the word, because they’re part of the collective imagination but also evoke so many personal feelings tied to specific moments.”The feelings evoked in his poster for “The Sheltering Sky,” lushly filmed by Bernardo Bertolucci in 1990, make it one of Mr. Casaro’s personal favorites. “It captures the mystery,” he said, “the notion of immersing oneself in the desert.”If movies are primarily about entertainment, then Mr. Casaro’s summary of his career is apt.“I had fun,” he said. “A lot of fun.”Mr. Casaro in his studio. “I constantly adapted,” he said of his long career.Alessandro Grassani for The New York Times More

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      Sonny Chiba, Japanese Star With a ‘Kill Bill’ Connection, Dies at 82

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      His martial arts movies appalled some with their extreme violence, but the director Quentin Tarantino was a fan and gave him a late-career boost.Sonny Chiba, a Japanese action star who was known for ultraviolent martial arts movies and then, in 2003, was elevated to a whole new level of cinematic trendiness when one of his superfans, the director Quentin Tarantino, gave him a role in “Kill Bill: Vol. 1,” died on Wednesday. He was 82.His manager and friend, Timothy Beal, said the cause was Covid-19. Oricon, the Japanese news service, said he died at a hospital in Kimitsu, Japan.Mr. Chiba, who was trained in karate and other martial arts, began turning up on Japanese television in his early 20s. He was soon making movies as well, amassing more than 50 TV and film credits in Japan before the end of the 1960s. In the ’70s, with martial arts movies enjoying broad popularity thanks to the American-born Chinese star Bruce Lee, Mr. Chiba became widely known in Japan and beyond, especially because of “The Street Fighter” (1974) and its sequels.“The Street Fighter,” in which his character battled gangsters, was so violent that when it was released in the United States it was said to have been the first movie given an X rating for violence alone.“If nothing else,” A.H. Weiler wrote in a brief review in The New York Times in 1975, when the movie played in New York, “this Japanese-made, English-dubbed import illustrates that its inane violence deserves the X rating with which it has been labeled.” In 1996, when a DVD of the film was released, The Los Angeles Times said it was being “presented complete and uncut in all its eye-gouging, testicle-ripping, skull-pounding glory.”“The Street Fighter” and other Chiba movies made an impression on Mr. Tarantino. In the homage-filled “Kill Bill, Vol. 1,” he cast Mr. Chiba as the sword maker Hattori Hanzo, who provides Uma Thurman’s vengeful character with her weapon. A.O. Scott, reviewing the movie in The New York Times, got the reference but wasn’t enamored of it.“Check it out, Mr. Tarantino seems to be saying, Sonny Chiba’s in my movie,” he wrote. “How cool is that? Way too cool? Not cool enough? As I said, it depends. The movie-geek in-jokes are sometimes amusing and sometimes annoying.”In any case, Mr. Tarantino brought Mr. Chiba back the next year for “Kill Bill: Vol. 2,” and he enjoyed a late-career resurgence.He was a Yakuza boss in “The Fast and the Furious: Tokyo Drift” in 2006 and a sushi chef in the noir thriller “Sushi Girl” in 2012, among other roles. Mr. Beal said that before the pandemic, Mr. Chiba had been lined up for a role in a zombie movie called “Outbreak Z.”Mr. Chiba, who also acted under the name Shinichi Chiba, was born Sadaho Maeda on Jan. 23, 1939, in Fukuoka, Japan. His acting career received a boost when he was signed by Japan’s Toei studio in the early 1960s.Mr. Chiba made numerous movies, mostly samurai dramas, with the Japanese director Kinji Fukasaku, who gave him some of his earliest roles. He came to distance himself from the violence-drenched “Street Fighter” films — “That sort of performance is not the performance I am particularly proud of as an actor,” he told The Times in 2003 — but he looked more kindly on his work with Mr. Fukasaku.“Mr. Fukasaku was very sensitive to violence,” Mr. Chiba said. “His constant question was, ‘What is violence? What is authority? What is power?’ Ultimately, he denied violence, and always sided with the weak.”Martial arts, Mr. Chiba said, was not that different from acting.“Martial arts is part of the drama — it’s performance,” he said, “It’s a way of expressing emotions.”Information on Mr. Chiba’s survivors was not immediately available. More

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      Quentin Tarantino Turns His Most Recent Movie Into a Pulpy Page-Turner

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      Quentin Tarantino’s first novel is, to borrow a phrase from his oeuvre, a tasty beverage.It’s his novelization of his own 2019 film “Once Upon a Time … in Hollywood” (the book’s title omits the ellipsis). It’s been issued in the format of a 1970s-era mass-market paperback, the sort of book you used to find spinning in a drugstore rack. More

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      Hong Kong to Censor Films Under China’s Security Law

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      The city’s government said it would block the distribution of films that are deemed to undermine national security, bringing the territory more in line with mainland Chinese censorship.For decades, Hong Kong’s movie industry has enthralled global audiences with balletic shoot-em-ups, epic martial-arts fantasies, chopsocky comedies and shadow-drenched romances. Now, under orders from Beijing, local officials will scrutinize such works with an eye toward safeguarding the People’s Republic of China.The city’s government on Friday said it would begin blocking the distribution of films that are deemed to undermine national security, marking the official arrival of mainland Chinese-style censorship in one of Asia’s most celebrated filmmaking hubs.The new guidelines, which apply to both domestically produced and foreign films, are the latest sign of how thoroughly Hong Kong, a semiautonomous Chinese territory, is being reshaped by a security law enacted last year to quash antigovernment protests.With the blessing of the Communist government in Beijing, the Hong Kong authorities have changed school curriculums, pulled books off library shelves and moved to overhaul elections. The police have arrested pro-democracy activists and politicians as well as a high-profile newspaper publisher.And in the arts, the law has created an atmosphere of fear.The updated rules announced Friday require Hong Kong censors considering a film for distribution to look out not only for violent, sexual and vulgar content, but also for how the film portrays acts “which may amount to an offense endangering national security.”Anything that is “objectively and reasonably capable of being perceived as endorsing, supporting, promoting, glorifying, encouraging or inciting” such acts is potential grounds for deeming a film unfit for exhibition, the rules now say.The new rules do not limit the scope of a censor’s verdict to a film’s content alone.“When considering the effect of the film as a whole and its likely effect on the persons likely to view the film,” the guidelines say, “the censor should have regard to the duties to prevent and suppress act or activity endangering national security.”A Hong Kong government statement on Friday said: “The film censorship regulatory framework is built on the premise of a balance between protection of individual rights and freedoms on the one hand, and the protection of legitimate societal interests on the other.”The vagueness of the new provisions is in keeping with what the security law’s critics say are its ambiguously defined offenses, which give the authorities wide latitude to target activists and critics.Supporters of pro-democracy activists who have been charged under the national security law protested in Hong Kong last month.Lam Yik Fei for The New York Times“How do you raise funds?” asked Evans Chan, a filmmaker who has faced problems screening his work in Hong Kong. “Can you openly crowdsource and say that this is a film about certain points of view, certain activities?”Even feature filmmakers, he said, will be left to wonder whether their movies will fall afoul of the new law. “It’s not just a matter of activist filmmaking or political filmmaking, but the overall scene of filmmaking in Hong Kong.”At its peak during the decades after World War II, the city’s film industry enjoyed huge influence across the moviegoing world, churning out popular genre flicks and nurturing auteurs like Wong Kar-wai and Ann Hui. The influence of Hong Kong cinema can be seen in the work of Hollywood directors including Quentin Tarantino and Martin Scorsese, and in blockbusters such as “The Matrix.”More recently, Hong Kong’s political turmoil has been of intense interest to artists and documentarians, even if their work has sometimes struggled to be shown before audiences.A screening of a documentary about the 2019 protests was canceled at the last minute this year after a pro-Beijing newspaper accused the film of encouraging subversion. The University of Hong Kong urged its student union to cancel a showing of a film about a jailed activist.The screening went on as planned. But a few months later, the university said it would stop collecting membership fees on the organization’s behalf and would stop managing its finances as punishment for its “radical acts.” More